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vldehle

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  1. Q1) While I haven't seen Gaslight in a long time, what strikes me somewhat is the use of light and dark. Eliza, while dressed up is definitely down in the dumps and at first look the light in the room appears dark near her. She starts crying and stops once Higgins appears. Higgins, in the meantime, is in a great mood almost as if waking on air since he won his bet. In fact the cheeriness in his voice acts as an insult to Eliza. In Gaslight, Charles Boyer drives his wife, poor Ingrid Bergman, to question her very sanity. It's as if she is being sent from the light into the dark. Q2) T
  2. Q1) I think as you get further away from the first musicals you see men showing more sensitivity and feelings rather than having to be the manly man at all times. Q2) Preston has quite a way with his wording...it is very elegant and the while the writer of the music has used certain words to convey the meaning Preston has taken them to another level. The stresses he places on the words themselves as well as his mannerisms help further convey the story. Q3) I'm sure I have seen other movies with him and after looking at a list of his movies, I've seen some of them, but don't rememb
  3. In what ways does this scene look backwards to classical musicals and how does it look ahead to new disruptions that we now know will happen in the movie musical? This is the introduction of Mama Rose in the film. Comment on Rosalind Russell’s entrance and performance especially as a traditionally trained stage and film actress. Pay attention to the song “Let Me Entertain You” in this scene. Is there anything you notice in Sondheim’s lyrics that are sly, subversive, or edgy? You can also discuss the song’s performance and staging as disruptive (or not). Q1) This is ta
  4. I would have to say the musical I dislike the most is The Pirate with Gene Kelly and Judy Garland. The music and story just never seemed to flow for me and at times I would just get lost in the whole thing.
  5. Does a movie that has as stylized a scene as An American in Paris’ ending ballet need to use a less-than-realistic, stylized approach throughout the film? What keeps Jerry Mulligan from being completely unlikeable in a scene in which he acts pretty darn unlikeable Q1) Yes, I think it does need to be less-than-realistic, stylized approach throughout the film. In a sense this film in some ways is more about art than anything. In that case using the lesser approach allows for all types of art to be used in a variety of ways. For example, you have the ballet scene, which wouldn't
  6. Q1) I think many of their movements are similar to their dance movements. It is all about rhythm, of which both men are inordinately blessed. Their movements in the beginning are to keep the rhythm and pace as they segue into the music. I really love watching Kelly and O'Connor dance together as, especially in this clip, their faces seem to hold sheer joy and delight in what they are doing. Q2) The role of the straight man in this instance is to give the actors someone to make fun of and to have fun with. They moved him around the room at will and in the end discard him just as they w
  7. Q1) This female character is outside of the norm as she is a tom-boy rather than a girlie girl. This time period was very interested in reinforcing traditional roles for men and women. Of course by the end we see Calamity Jane give the role of being a woman in this era her own twist. Q2) I love Doris Day movies and first, I have to say she not only has a beautiful voice, but an outstanding sense of comedic timing. From this musical you see her take on more light hearted musicals such as By the Light of the Silvery Moon and Moonlight Bay. These were both with Gordon MacRae who is wonder
  8. I've been out of town for the last week, but still want to catch up on this as I find musicals so fascinating. I always thought if I could do any acting it would be just musicals as I love the way the story and music intertwine. Q1) Everyone is meant top be a part and I think this is by design that we can no longer act as a lone wolf. It takes everyone, together to get things done and this musical number shows that. It is meant to create the cohesiveness we've felt as a country and to encourage it to continue. It is very different from past musicals, which seemed to often focus on one
  9. Q1) This song implies that everything for Petunia revolves around Joe. He is her very reason for being and she believes him to be so good that lilacs smile when he goes by. When the film cuts to Petunia hanging clothes and still singing about Joe, I think this symbolizes how much her love for him is a part of her everyday life. Joe is such a big part of her life in that Joe is what she is always thinking about...at least when she isn't thinking about the Lord. Q2) It is hard to imagine this song being sung about a child. The words and orchestration of the music make it seem romantic r
  10. Q1) Lots of flag waving in this whole movie. The Cohen songs that were most patriotic were the big highlights/dance/song numbers. People couldn't help leaving the theater and feeling pride in their country. I wouldn't be surprised to hear that every admission ticket also included a free flag. Plus, when the movie starts and Cohen goes to meet FDR the use of the pictures of the past presidents is extremely important. It is to remind everyone of our long history and what we could lose if we don't win the war. You can't say enough about Cohen's birth scene. Fireworks, flags, a parade..
  11. Q1) Each shot went in motion with the music. For example, when Sinatra and Garrett were swinging their arms as they walked/strode the top of the ball park, the music was doing the same thing. Also, at this point, the camera was pulled so you could see the full motion, which gives you the feeling something big is going on. Actions speak louder than words. Sinatra's face when she was telling him it was fate, clearly said it may be fate, but I feel trapped. Garrett was gleeful throughout this song as she had him right where she wanted him due to "astrology, numerology." Q2) You knew t
  12. Q1) She was wearing what amounted to a suit so they would appear to be on equal footing. However, you knew in the end somehow she was either going to end up on equal footing or better, because she held the croft in her hand. While today people might say, "Oh a little kinky fun with that croft," it really was meant to be part of the scene to somehow give her the upper hand. Q2) It is very similar in that you know in the end the guy gets his girl and life will be grand, which it often wasn't in the Depression. Also, you see the opulence again that could help people forget their own troub
  13. Q1) The Lubitsch touch seems everywhere in this clip. The garters, the gun(s), and even the dog seems to be a prop to show some sense of normalcy yet the absurdness of the situation Alfred finds himself in at this moment. The whole set up is designed to show that Alfred is a man of leisure who prefers to be a playboy versus the attache of Sylvenia. I knew before he opened the drawer to put the gun away, there would be more guns as he clearly seems to be a man who attract feminine attention and draws up the jealousy among the ladies. Q2) The pop of the gun almost didn't sound real to me
  14. I always love these music type competitions you see in some of the musicals. Swing versus classical. It appears in several Judy Garland musicals. It just made things fun. Plus you go to great voices for the price of one!
  15. Q1) I would say there is a definite attraction between the two, but as a good girl, Jeanette MacDonald has be coy and a little cagey about her attraction. Good girls can't just go throwing themselves at men. I loved how as he sang his love song to her she swayed along and gave him shy looks over her shoulder. Then at the end of the clip she was definitely trying to get his goat by telling him she knew he used this song trick with all the ladies. Q2) I remember seeing Jeanette MacDonald in Three Daring Daughters. I enjoyed the movie so much as I really like Jane Powell and I believe t
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